Entanglement

Graphite, pastel, ink, vellum, paper, pins. 96 x 240”. 2022

Presented as part of Boxo 10 x 10, a 10-year-anniversary survey exhibition of work by artists who have participated the BoxoProjects Artist Residency Program, Joshua Tree, CA. Read more about Entanglement here.

Entanglement (detail)

Graphite, pastel, ink, vellum, paper, pins. 96 x 240”. 2022

Boxo 10 x 10, BoxoProjects, Joshua Tree, CA. On view Nov. 19 - Dec. 31, 2022.

Entanglement (detail)

Entanglement (detail, with Delta drawing no. 7)

Entanglement (detail, with Delta drawing no. 14)

Entanglement (detail)

Dead or Alive

Graphite, ink, pastel, product ads, cotton embroidery floss, vellum, paper, pins. 107 x 122”. 2022

Read more about the concepts and motivations behind this piece here.

Dead or Alive (detail)

Frame (Copy)

Acrylic, dimensions variable. 2016

A temporary site-specific wall drawing created for the “In Search of the Frightening and Beautiful” exhibition at Cherryhurst House in Houston, TX (USA).

Front Wheel, Cherryhurst House (Copy)

Acrylic, dimensions variable. 2016

A temporary site-specific wall drawing created for the “In Search of the Frightening and Beautiful” exhibition at Cherryhurst House in Houston, TX (USA).

Crankshaft, Cherryhurst House (Copy)

Acrylic, dimensions variable. 2016

A temporary site-specific wall drawing created for the “In Search of the Frightening and Beautiful” exhibition at Cherryhurst House in Houston, TX (USA).

hard/soft (site overview)

Site-specific installation with chalk on concrete wall supporting the Williamsburg Bridge in Brooklyn, NY. 2007

The installation was comprised of words and phrases stenciled onto the wall in chalk, based on bits of conversations overheard in the surrounding neighborhood. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

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hard/soft (detail)

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (detail)

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (chalk text detail)

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (detail)

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (in progress)

Text stencils

Site-specific installation with chalk on concrete wall. dimensions variable. 2007

Words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (in progress)

text stencils

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (detail)

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (detail)

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

hard/soft (detail)

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

Vox Populi

Vox Populi was created for the Visual Arts Center of New Jersey in Summit, NJ, as part of an exhibition titled Between To and From, in 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

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Vox Populi, detail

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi, detail

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi, detail

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi, detail

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi, detail

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi, detail

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Ode to a Suicidal Highway Engineer

Yarn, thread, nails and house paint. Dimensions variable. 2004

A temporary site-specific installation made at White Columns alternative space in New York City as part of the group show “Score: Action Drawing”, curated by Marissa Olson in 2004. “Ode to a Suicidal Engineer” takes its inspiration from an urban legend surrounding the alleged suicide of a civil engineer who supposedly led the design team responsible for a particularly dangerous section of Interstate 35 that cuts through downtown Austin, Texas.

The piece occupied the entire entrance to the gallery and ran along the ceiling, disappearing behind some conduits toward the back of the space.

Ode to a Highway Engineer, detail

Highway

Thread, twine, nails. Dimensions variable. 2003

A site-specific installation created as part of the 2003 group show “Mark: Contemporary Drawings”, curated by Griff Williams for Gallery 16 in San Francisco. The piece was inspired in part by the deterioration of Tucumcari, New Mexico, a consequence of the construction of Interstate 40 which directed traffic around, and away from, the center of this once-thriving rural town. Appearing as a single wavering line, the piece directed one’s gaze onto the gallery floor, ceiling, out its door and into the hallway, up a flight of stairs, in and out of a room used for storage, and out the building’s 3rd floor window.

Highway, detail

Cracks in the Pavement - East Ave, Austin, TX

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

Cracks in the Pavement - East Ave (detail)

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

Cracks in the Pavement - 51st St, Austin, TX

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

Cracks in the Pavement - 51st St (detail)

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

Cracks in the Pavement - Pedestrian Bridge, Austin, TX

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

Cracks in the Pavement - I-35 at Riverside, Austin, TX

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

Cracks in the Pavement - I-35 at Riverside, Austin, TX

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

Cracks in the Pavement - Ben White at Mancheca, Austin, TX

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.